Ana Tzarev Gallery

Described as a “dynamic and visionary painter” by art critic Edward Lucie-Smith, Ana Tzarev’s works engage viewers with their intricate textural surfaces and vibrant colours. Her “sculpted” paint surfaces rise off of large canvases and into the viewer’s space, involving them in Tzarev’s distinctive visual language. Tzarev’s collections titled Exposed and Life of Flowers showcase her unmistakable style, using exuberant, frenetic swaths of paint in her portraits of flowers. Her other collections,

Described as a “dynamic and visionary painter” by art critic Edward Lucie-Smith, Ana Tzarev’s works engage viewers with their intricate textural surfaces and vibrant colours. Her “sculpted” paint surfaces rise off of large canvases and into the viewer’s space, involving them in Tzarev’s distinctive visual language. Tzarev’s collections titled Exposed and Life of Flowers showcase her unmistakable style, using exuberant, frenetic swaths of paint in her portraits of flowers. Her other collections, such as Dispossessed or Masterpiece Theatre, are inspired by decades of extensive travel, and the cultures, customs, and art Tzarev experienced.
Tzarev’s paintings have been featured in galleries, museums, and public spaces across Europe and Asia, including the Saatchi Gallery in London, the Russian Museum in St Petersburg, the National Museum in Rome, and the Today Art Museum in Beijing. Her sculptures have been installed in cities across the world, including London, Singapore, New York, and Venice during the 55th Biennale.
Tzarev’s work, as well as the causes she supports, are inspired by the belief that art can be a powerful force for good in the world. Since 2011 she has supported youth arts and education through programmes such as From Ana Tzarev With Love. In 2012, she premiered an on-going global sculptural campaign, entitled “Love & Peace,” to bring people together and share a message of love, peace, and understanding.
“She [Ana Tzarev] has developed a powerful gestural style with an energy not unlike that of the post-impressionist era: an open colour, a three-dimensional brush stroke — or rather, a fiery haze of strokes drifting optically in space; a triumph of the de-reflective approach, driven towards capturing and mastering nature’s signals.” — Dr Alexander Borovsky, curator of Contemporary Art at the Russian Museum.